#webtoonrant

🚨 warning: long rant / essay incoming || mentions of writing critique, manhwa storytelling, author bias, love triangles, emotional gaslighting, and the slow death of narrative integrity. read at your own risk, besties 💅

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Hi, you all probably don’t know me (and honestly, that’s fine). I’m just some random nobody who used to genuinely enjoy Operation: True Love back when it still felt like it had direction, emotional depth, and an actual message about healing from toxicity. But lately? It’s like watching a slow-motion car crash where every new chapter adds another layer of denial. I’m not mad, I’m just tired , the kind of tired that comes from watching a story with potential self-destruct because of author bias and lazy narrative shortcuts.

So, let’s unpack this disaster, the time skip that ruined pacing, the bias that distorted its message, and how this manhwa went from self-love manifesto to “what if trauma but make it romantic?”

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1. The Time Skip That Butchered Emotional Continuity

Let’s start with Chapter 104, because that’s where everything started feeling wrong. The time skip was marketed (and initially felt) like a chance for character growth. “Years have passed! Su-ae has matured!” Except… we never saw that growth. The chapters leading up to it, especially Ch. 90–103 , set up Su-ae’s self-discovery arc beautifully. She was finally realizing she didn’t need validation from Eunhyeok or any boy. She was learning to draw boundaries, recognizing emotional neglect, and valuing herself.

But the skip? It skips over the process. The pain, the therapy, the redefinition of love. We go from “Su-ae learning to breathe again” → “Su-ae is now a put-together adult, trust us!” That’s not character development, that’s emotional teleportation.

Meanwhile, Dohwa’s emotional arc ; his honest communication, his vulnerability in Ch. 87–95, his realization that love can be selfless gets reset like it never happened. We lose all his growth just so the author can rebuild Eunhyeok’s tragic-boy mystique.

And you can feel the tonal whiplash. The pacing goes from emotional realism → melodramatic time skip → forced nostalgia montage. No emotional payoff, just narrative amnesia.

2. The Love Triangle That Turned Into a Bias Billboard

Let’s not pretend we don’t see it, the author’s bias is blinding. When Eunhyeok reappeared in Ch. 112, after ghosting Su-ae for ten years, the framing screamed “endgame redemption.” Cue tragic lighting, wistful inner monologue, and a slow zoom on his eyes like we’re supposed to forget he disappeared with no explanation.

Ten. Years. No call. No closure. Just ✨ trauma ✨.

Meanwhile, Dohwa who literally carried the narrative for over 50 chapters gets treated like an inconvenience. By Ch. 120, the man who was once the symbol of healthy love is painted as clingy. The tone shifts from “patient support” to “persistent nuisance.”

It’s not just bias , it’s rewriting history to fit a trope. The “bad boy redemption arc” that so many dark romances cling to, even when it makes zero psychological sense.

Proof? Look at Ch. 117. Eunhyeok’s return scene mirrors Ch. 22 (his first reappearance post-breakup). The same “sad eyes,” the same “you don’t understand what I’ve been through” energy, except this time, the narrative treats it like atonement. There’s no accountability, no apology, no earning Su-ae’s forgiveness. Just vibes.

3. The “Stalker” Label That Should’ve Been Applied Elsewhere

Let’s talk framing. In Ch. 118, when Dohwa shows up to help Su-ae move, the narration suddenly shifts to calling him “too persistent.” We see his kindness framed as intrusive, as if emotional consistency is something to mock.

Meanwhile, Eunhyeok’s vanishing act gets reframed as “emotional defense mechanism.” He disappears for a decade, and instead of holding him accountable, the story bends backward to justify it.

This is a dangerous trope, because it normalizes neglect as a form of “deep love.” It teaches that the person who hurts you the most must be the one who loves you “the deepest.” That’s not romance; that’s textbook trauma bonding.

Psychologically, this is how toxic patterns get romanticized: the narrative conditions the audience to crave closure, and then rewards the abuser figure for simply returning.

4. Authorial Bias: When the Camera Betrays the Script

One of the most obvious signs of bias is in the visual language. Watch how scenes are framed:

Eunhyeok = backlit, soft filters, sad eyes, nostalgic quotes.

Dohwa = bright lighting, comedic timing, or awkward panels.

This visual coding manipulates readers’ emotions. You’re told through art who you should feel for, even when logic says otherwise.

Compare Ch. 82 (Dohwa’s confession) vs Ch. 113 (Eunhyeok’s reappearance). In Ch. 82, Dohwa’s raw vulnerability is undercut by a comedic cutaway — literally the panel breaks the tension. In Ch. 113, Eunhyeok gets a full cinematic spread, dialogue dripping with emotional gravitas.

The difference? Author intent. Not organic emotion.

And once you notice it, it’s impossible to unsee.

5. The Thematic Betrayal: “True Love” My Foot

Operation: True Love started as a healing narrative. The first 50 chapters were about self-respect, emotional literacy, and breaking free from performative love. Su-ae’s arc paralleled real-world healing: realizing that being loved isn’t the same as being chosen, and that self-worth isn’t something others can validate.

But by Ch. 120–130, that message dissolves. The narrative no longer critiques toxic love it romanticizes it. Eunhyeok’s return isn’t framed as a test of growth; it’s framed as a reward. Dohwa’s empathy isn’t celebrated; it’s punished.

It’s the dark romance trap: mistaking angst for depth, and trauma for chemistry.

6. What Could’ve Saved It (and Still Could, Barely)

There’s still a universe where Operation: True Love could’ve delivered. If Eunhyeok’s arc had focused on earning trust back not reclaiming it we could’ve seen genuine redemption. Imagine:

He acknowledges his absence, apologizes without expectation, and supports Su-ae from a distance.

Dohwa, meanwhile, moves on healthily, representing a different kind of love, one rooted in stability.

Su-ae ends the story choosing herself, closing both doors with peace instead of romantic dependency.

That would’ve honored the core message. It would’ve said: you can love people and still choose yourself.

But we didn’t get that. We got narrative regression, emotional déjà vu dressed up as “maturity.”

7. The Bigger Problem: Webtoon Romance and Author Projection

Operation: True Love isn’t an isolated case. It’s part of a larger trend where authors unconsciously project personal romantic ideals into the narrative, even when it contradicts the story’s own setup. In this case, it feels like the author fell in love with her/his own creation = "Eunhyeok", and couldn’t bear to let him be the villain or just another ex.

The result? A story that started as a mirror for young women’s emotional growth becomes a mirror of authorial wish fulfillment.

8. Final Thoughts (or: My Breakup Letter to Badly Written Romance)

I’m not saying Eunhyeok shouldn’t be the ML. I’m saying he shouldn’t be the prize. Write flawed men, please, but hold them accountable. Don’t give them moral immunity because they’re broody and hot. Don’t punish emotionally available men because they don’t “fit the drama.”

Because stories like this shape real emotional frameworks. Readers deserve better than to be told that love equals waiting for someone who left.

So yeah, I’ve officially exited my dark romance phase. I’ve had enough of watching “maturity” be code for “tolerate neglect,” and “forgiveness” be shorthand for “erase consequences.”